Minor Project / Warisan XR

Shim Yi Xun || 0363292

Bachelor of Design (Honours) in Creative Media
  Minor Project - DST 61004  

Minor Project - Warisan XR

  Overview  

> Member's Blog Link

> Module Information Booklet

> Project Process

• Contextual Research & User Persona
• Interview & Survey Questionnaire
• Survey Data Analysis
• Insight Discovery & POV & HMW
• Proposal Presentation
• Customer Journey Map
• Final Moodboard & Final Presentation

> Project Tracking Document &Consultation Feedback

> Reflection

  Member's Blog Link  

RACHEL YEO RONG QING (0368901) - BLOG 

RUTHLENE CHUA ZHEN SI (0365222) - BLOG

LIU ZIYU (0367533) - BLOG 

SIANG HUEY YEE (0369549) - BLOG 

TANG CHIN TING (0366473) - BLOG

TEH MING EN (0364908) - BLOG

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  Module Information Booklet  

Miro Board:

Warisan XR Gantt Chart:
https://docs.google.com/spreadsheets/d/1Fx2RpO1yTizEHLkbOtt-Xokt12n7YWA9/edit?usp=sharing&ouid=115892666042224667414&rtpof=true&sd=true

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  Project Process  

As part of our design research process for the Warisan XR project, each team member conducted contextual research. Our goal was to gather knowledge, identify opportunities, and set the foundation for interviews and surveys that follow. Below is a summary of each member’s focus and key findings:

  Contextual Research  

Shim Yi Xun:

• Investigated the declining interest in Malaysian heritage among youth.
• Emphasized the potential of XR (Extended Reality) to reignite interest through immersive storytelling.
• Found that interactive and narrative-driven experiences could bridge the generational gap between the past and the present.

Siang Huey Yee:

• Focused on how XR can enhance cultural education by offering more engaging experiences.
• Pointed out that traditional teaching methods often fail to capture students’ attention.
• Suggested that XR could make learning about heritage more memorable and dynamic.

Teh Ming En:

• Investigated user interaction preferences with digital heritage platforms.
• Found that users prefer intuitive navigation and visually engaging interfaces.
• Highlighted the importance of emotional connection and narrative structure in interactive design.

Ruthlene Chua Zhen Si:

• Focused on accessibility and inclusivity in digital heritage projects.
• Found that not all users are tech-savvy, so user-friendly design is essential.
• Recommended features such as subtitles, voiceovers, and multilingual support to ensure broader accessibility.

Rachel Yeo Rong Qing:

• Studied the use of visual aesthetics that appeal to the younger generation.
• Found that a balance between traditional motifs and modern design styles attracts more attention and interest from youth.

Liu Ziyu:

• Explored public perceptions of cultural heritage in relation to modern technology.
• Discovered skepticism from older generations but also growing interest from younger users.
• Emphasized the importance of designing for cross-generational understanding and acceptance.

Tang Chin Ting:

• Researched global case studies of XR used in cultural preservation.
• Identified that community involvement is key to authenticity and success.
• Found that younger audiences are more drawn to relatable content presented in a modern and engaging way.

Through our contextual research, several key themes have emerged that will guide us in the next stage of our project. One of the most prominent insights is the gap between traditional cultural presentations and the expectations of modern users, particularly the younger generation. XR technologies show great potential in bridging this gap by offering immersive, interactive, and visually engaging experiences that help users emotionally reconnect with their cultural heritage. We also found that accessibility, relatability, and strong aesthetic appeal are essential components for designing successful cultural experiences in the digital age.

We will proceed to the interview and survey stage of our research. Our aim is to explore how individuals personally relate to cultural heritage and what motivates them to engage with it through modern technologies like XR. We are also interested in learning more about their preferences regarding functionality, interactivity, and visual design. While interviews will allow us to dive deeper into personal stories, emotions, and motivations, surveys will help us gather broader insights into user behavior and expectations.\

  User Persona  

We developed detailed user personas to guide our ideation and decision-making. These personas are based on contextual research insights and reflect the diverse types of users who may engage with cultural heritage through XR experiences. 

Below are the three user personas we crafted for our project:

User Persona 1: Local Museum Visitor - Amir Hakim & His Family

Bio:
Amir Hakim is a 34-year-old freelance heritage photographer living in Bangi, Selangor. He enjoys documenting traditional festivals and historic landmarks across Malaysia. On weekends, he and his wife often take their two children to museums and exhibitions, hoping to instill a deep appreciation of cultural history. Amir strongly believes in using technology to make heritage more exciting and accessible for the next generation.

Scenario:
During school holidays, Amir plans a family visit to the National Museum of Malaysia. He’s interested in trying WarisanXR because of its interactive stories and engaging challenges, which could help his children stay entertained without having to read too much text. He ensures the app runs well on his phone and checks for offline compatibility.

Motivations & Goals:

• To introduce his children to Malaysia’s history in a fun, engaging way
• To create conversations about culture through digital tools
• To document family cultural outings for his heritage blog
• To find meaningful activities that match his family’s interests
• To make history more relatable for young generations

Core Needs:

• Interactive content that holds children’s attention
• Authentic history merged with modern storytelling
• XR tools that are mobile-friendly and work offline
• Balanced experiences—both educational and fun
• Simple, family-friendly interface with visual cues

Pain Points:

• Kids lose interest in reading-heavy exhibitions
• Confusing or overly complex XR app setups
• Worries that tech may overshadow real cultural meaning
• Limited time in museums requires quick, impactful content
• Compatibility issues with older mobile devices

User Persona 1

User Persona 2: International Museum Visitor - Emily

Bio:
Emily is a full-time travel and culture content creator who runs a blog and social media channel. Passionate about lesser-known heritage stories, she uses XR tools like VR travel apps and AR guides to connect global audiences with cultural experiences. She’s currently researching Malaysia’s rich multicultural background and looking for digital tools that will allow her to authentically share her journey.

Scenario:
Emily hears about the WarisanXR project from a Malaysian mutual on social media and immediately decides to explore it. While visiting the museum, she records clips of the experience and posts a teaser on her social platforms. She later writes a review praising the immersive storytelling but mentions that the UI could be improved and that some captions are still only in Bahasa Malaysia.

Motivations & Goals:

• To discover immersive cultural experiences for travel content
• To showcase Malaysian heritage to her international audience
• To use XR as a tool for storytelling and education
• To promote sustainable, culturally respectful tourism
• To create content that is fresh, modern, and meaningful

Core Needs:

• Well-designed, glitch-free XR experiences
• Easy media capture for sharing (screen recording, images, etc.)
• Cross-platform accessibility and intuitive UI
• XR content that includes human stories, not just facts
• Multilingual support for better global reach

Pain Points:

• Poorly designed or overly technical XR apps
• Hard-to-find quality cultural XR experiences
• Limited options for content capture
• Lack of emotional depth in some digital cultural content
• Language barriers in exhibitions or apps

User Persona 2

User Persona 3: Educator / Student - Wong Jia En

Bio:
Wong Jia En is a university student on an outreach scholarship. Coming from a rural background, she now studies in an urban state and is learning to navigate both academic and cultural spaces that feel unfamiliar. She is hardworking and eager to grow but sometimes feels out of place in formal environments like museums. Although she uses AR filters and social media daily, she hasn’t yet made the connection between these technologies and learning.

Scenario:
Jia En joins a cultural field trip to the National Museum. While she’s interested, she feels unsure whether the exhibits will resonate with her background. She’s open to using digital tools, especially if they help her understand the content at her own pace and in a more engaging way.

Motivations & Goals:

• To explore the world beyond the classroom
• To feel included in cultural experiences
• To use creative and interactive tools that support her learning
• To gain confidence through exposure to new ideas
• To develop critical thinking and creativity in her studies

Core Needs:

• Relatable and accessible educational content
• Visual, interactive learning tailored to different learning styles
• Experiences that reflect diverse cultural background
• Opportunities to explore independently and at her own pace
• Clear cultural context with relevance to her own identity

Pain Points:

• Museums feel too formal or intimidating
• Lack of prior exposure makes her feel unprepared
• Cultural content often excludes her personal background
• Transport or financial issues may limit access
• Learning that’s too theoretical or visually dense can be disengaging

User Persona 3

These personas help us better understand the varied needs, challenges, and aspirations of our target users. Each of the personas represents different pathways into cultural exploration. This will guide our design strategy as we move forward to create experiences that are not only culturally rich, but also inclusive, intuitive, and inspiring.

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  Interview & Survey Questionnaire  

Field Visit to the National Museum of Malaysia
Our team conducted a field visit to the National Museum of Malaysia to gain a deeper understanding of its exhibition content and the cultural context. While exploring the museum's diverse galleries, we observed how cultural narratives are effectively communicated to visitors.

This experience enriched our understanding of the needs and values of our target audience and inspired new approaches to delivering the project's message with greater clarity and impact. Overall, the visit was not only informative but also a valuable source of inspiration and guidance, helping us shape the project's future direction.

Summary of Interview
We have asked several questions regarding the experience after visiting the museum.

Click HERE to listen audio recording

Recording #01 (Local Visitor - Malay Family)

Based on the interview with the local family, it was revealed that this was their first visit to the museum, and both the father and his two young daughters were visibly excited. The family showed a strong interest in traditional heritage exhibits, with the elder daughter (8 years old, Standard 2) able to connect more with the historical content due to her exposure to the subject in school. However, the younger daughter (4 years old) found it challenging to understand the text-heavy descriptions and was more responsive to animated or visually engaging elements. The father noted that his children had previously enjoyed a VR experience at the planetarium, which captured their attention more effectively than static displays. He also shared a positive memory of visiting the planetarium that used holograms, describing it as immersive and impressive. He expressed that integrating XR technology into museum experiences could make learning about heritage more enjoyable, especially for children, by transforming it into something more interactive and memorable.

Recording #02 (Chinese - Tour Guide)

After the interview, we knew that the palace is currently under renovation. It is an ancient Malay royal palace called Istana Satu, located in Terengganu. This historic structure was built by traditional Malay craftsmen purely based on their imagination, without the use of nails or architectural blueprints. The palace follows the traditional Malay architectural style and only exhibits the house’s internal partitions when open.

Recording #03 (International - Iran-Malaysia Couple)

Based on the interview with the international couple — a young Iranian woman and her Malaysian partner — they shared that their overall museum experience was acceptable, with particular interest in Malaysia’s history and traditional heritage. However, they expressed mild dissatisfaction with how most exhibits were presented, specifically pointing out that artifacts enclosed in glass boxes felt less engaging. They also found it inconvenient that the descriptions were placed inside the glass boxes, making them difficult to read due to crowding and the need to wait their turn to view them. Despite this, they remained open and positive about the potential use of XR technologies, such as XR glasses, to enhance museum visits. Both agreed that integrating interactive elements would make the experience more enjoyable, immersive and meaningful, especially for younger or tech-savvy audiences.

Recording #04 (International - China Couple)

During our interview, the couple shared their thoughts on visiting the National Museum of Malaysia. They noted that the presence of guided explanations made the experience clearer and more enjoyable. This guidance helped them better understand Malaysian culture. However, they mentioned that without such explanations, especially in Chinese, it would have been more difficult to fully comprehend the exhibits. They observed that most of the museum’s displays were static, with limited interactive or dynamic elements. They expressed a preference for more interactive features, such as games or activities, to make the visit more engaging. Simply walking and looking at exhibits felt tiring after a while. When introduced to the idea of using VR glasses in the museum, they showed interest but emphasized that they still wanted to see the real artifacts. They felt that VR should enhance the experience rather than replace it. For example, having digital content like brief animations or text explanations pop up next to real exhibits would make the experience more informative and enjoyable. However, they did not see value in a fully virtual museum, as it would take away from the authenticity of seeing actual historical objects.

Survey Form Questionnaire

Click HERE to view the survey form questionnaire

Survey Form

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  Survey Data Analysis  

Once we had completed collecting survey data from our respondents, we engaged in a comprehensive analysis to gain deeper insights into the pain points and needs of our target audience.

Click HERE to view the original response data.

Section 1: Participant Background
Out of 68 responses, most participants were young adults aged 18–24, making up about two-thirds of the total. The majority identified as students (66.2%), followed by a smaller group of unemployed individuals. All other occupations had only one respondent each. Most people who took part in the survey were local Malaysians (around 81%), while the rest were international respondents. Among the foreign participants, Chinese nationals made up the largest group, along with a few from countries like Singapore, Korea, Japan, and Turkey, as well as some who simply listed themselves as “International.”

Section 1 Participant Background

Section 2: Museum Experience Evaluation
Among the 34 respondents who have visited the National Museum of Malaysia, the overall experience was rated positively, with an average score of 4.06 out of 5. Most visitors appreciated visual storytelling (79.4%), interactive displays (67.6%), and hands-on activities (52.9%)—clearly favoring engaging and multimedia experiences over traditional formats. A strong majority (67.6%) felt their understanding of history deepened through the visit, and standout exhibits included the Malacca Sultanate diorama, Istana Satu, and cultural displays like traditional attire and weddings. However, 70.6% pointed out accessibility as a key area needing improvement. When asked what could enhance the museum further, 79.4% chose augmented reality (AR) features as the most meaningful addition.

Among the 34 respondents who haven’t visited the museum, over half (55.9%) cited distance and inconvenience as the main reasons for not going, suggesting physical accessibility is a major barrier. Interestingly, their expectations align closely with those of past visitors—70.6% of non-visitors selected “Visual display/storytelling” as the most appealing exhibit type, indicating that compelling visuals are a strong motivator for engagement. This reinforces the importance of visual storytelling not just for improving current visitor experiences, but also for attracting new ones.

While the key difference lies in experience—visitors provided reflections on what they enjoyed and what could be improved, whereas non-visitors focused on barriers and expectations—both groups strongly agree on the importance of visual storytelling. This shared interest suggests that enhancing the museum’s visual and interactive elements could both improve satisfaction among returning visitors and attract new ones.

Section 2: Museum Experience Evaluation

Section 3: Content Engagement
Most people felt that a mix of static and dynamic content was the most effective in keeping their attention, with over half (51.5%) choosing “Both equally” as their preference. They appreciated how dynamic visuals made learning more fun and interactive, while static displays gave them space to reflect and absorb information more deeply. This balance created a more engaging and meaningful cultural experience. Similarly, when asked about the ideal tone of a museum visit, most respondents (57.4%) preferred a combination of learning and fun, showing that people enjoy museums that are both educational and entertaining—not too serious, but not all play either.

Section 3: Content Engagement

Section 4: Technology & Extended Reality (XR)
In Section 4.2, which focuses on participants who have already experienced XR, the emphasis is on what made those experiences memorable—mainly the immersive and emotionally engaging nature of exploring historical or cultural environments. Participants highlighted how interactive simulations helped them better understand and retain information, with 81.8% specifically valuing the ability to "walk through" historical events. Section 4.3, on the other hand, looks at general user expectations and preferences (regardless of prior experience) and reveals strong interest in XR experiences that are immersive, educational, and culturally rich. The focus here shifts slightly toward future potential, suggesting that features like virtual walkthroughs, 3D models of Malaysian artifacts, and historical recreations would be highly appealing to the broader audience.

Both sections clearly show that immersion and interactivity are key strengths of XR technology. Whether reflecting on past experiences or imagining future applications, respondents consistently value the blend of education, culture, and engagement that XR can offer. This shared interest indicates a strong foundation for designing meaningful XR experiences in museums or heritage spaces.

Section 4: Technology & Extended Reality (XR)

Section 5: Final Feedback
A strong majority of respondents expressed interest in using XR for historical and cultural content, highlighting significant potential for the Warisan XR Project. People are especially drawn to XR experiences that are immersive, interactive, and rich in storytelling—while also valuing authenticity, educational depth, and multilingual accessibility. This shows a clear demand for meaningful, culturally rooted XR experiences that go beyond entertainment to offer deeper understanding and engagement.

Section 5: Final Feedback

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  Insight Discovery & POV & HMW  

Based on the survey data analysis, our research phase uncovered an essential pain point: Malaysian parents who are passionate about heritage struggle to engage their children in learning about culture in a meaningful and effective way. Existing resources are either too generic or too shallow. This was our basic problem statement, emphasizing the gap between serious cultural engagement and formats that would really resonate with young learners. Through empathy mapping and interviews, we learned that what users truly longed for were experiences that didn't just teach, but touched hearts with tradition, with history, and with each other.

From these learnings, we distilled five key findings. First, users decisively prefer interactive and immersive learning, particularly when augmented reality (AR) is leveraged to bring history and tradition to life and render them vivid. Second, people seek a mix of education and entertainment, nothing too dry or too vacuous. Third, many called for inclusive, intuitive designs, especially to accommodate multiple languages, literacy levels, and physical abilities. Fourth, they wanted authenticity and culturally respectful content over flashy gimmickry, hands down. And last, there is a real chance to increase engagement, making culture more welcoming to first-time visitors and young people not interested in traditional museums.

As a reaction, we created a list of How Might We (HMW) questions to guide the design process. They are:

• How might we create interactive AR experiences that emotionally engage Malaysian families who love heritage so that culture and history come alive?
• How might we design museum experiences that find a balance between learning and fun so as not to be boring lessons or shallow entertainment?
• How might we create inclusive and intuitive designs with multilingualism to support heritage-loving Malaysian families so that they can overcome language, navigation, and physical barriers in accessing cultural content.

These HMW statements emerged directly from our research and insight synthesis, enabling us to cast solutions not just as tech products, but as bridges that reconnect families more intimately with their cultural heritage.

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  Proposal Presentation  

Floor Plan
In this section, the floor plan presents the overall layout of the Exhibition Zone, beginning with the Intro Zone, where visitors receive a brief orientation on how to interact using the AR glasses, as well as an overview of the three cultural zones. An IKEA table is used as a reference for the display table, helping to visualize how the exhibition setup will look in the actual space.

Floor Plan

There is no fixed route for exploring the space, visitors are encouraged to navigate freely according to their interests. Each cultural zone is designed to accommodate up to five visitors at a time, promoting a smooth, immersive experience without overcrowding. The spatial arrangement ensures a balance between engagement and comfort, allowing visitors to interact with the installations at their own pace.

Visitor Flow Map

Storyboard

Iban Zone: Beduk Drum

Upon scanning the Image Target, the Iban Beduk drum appears in front of the visitor. Using hand gestures, visitors can:

• Zoom in by opening their hand
• Zoom out by making a fist
• Rotate the model 360° to observe intricate details

Tapping the drum’s surface plays its authentic sound, creating an immersive, auditory layer to the experience.

A hamburger menu in the top-right corner offers two options:

• Information: Cultural background and traditional usage
  
• Crafting Process: Step-by-step animated workshop

The crafting journey begins as visitors select a trunk, which transforms into the Beduk through animation. After the base shape is formed, visitors choose the type of leather used for the drumhead. An animation then demonstrates the traditional tying technique to secure the leather.

Next, visitors can view the decoration process and optionally fast-forward through longer segments. At the final stage, the completed Beduk can be zoomed in or rotated freely for close inspection.

Iban Zone - Beduk Drum

Temuan Zone: Bamboo Flute

In this zone, scanning the Image Target reveals the Temuan Flute. Visitors can rotate the model in 360° and access further information via the hamburger menu:

• Information: A detailed panel about the flute’s history and how it is played
  
• Crafting Process: An interactive journey into the making of the instrument

Once crafting begins, visitors are transported into a bamboo forest, where they select a piece of bamboo. A series of animated steps follows:

1. Cutting and shaving the bamboo.
2. Drilling 8 precise holes.
3. A native artisan tests the flute for pitch and sound quality.

At each step, the “Next” button allows the visitor to proceed at their own pace. For a quicker overview, the fast-forward icon lets users skip directly to the finished instrument, which can then be listened to. The experience concludes with options to return to the menu or explore further.

Temuan Zone - Seruling Buluh (Bamboo Flute)

Kdazan-Dusun Zone: Sompoton

After scanning the Image Target, the Kadazan-Dusun Sompoton appears. Similar to the other instruments, the model can be:

• Rotated 360°
• Zoomed in and out using hand gestures

Through the hamburger menu, visitors can choose to view:

• Information: Cultural and musical significance of the Sompoton
  
• Crafting Process: An interactive, hands-on experience

The workshop begins with selecting bamboo pipes, followed by:

1. Drilling and inserting holes at the pipe base
2. Preparing the gourd to fit the bamboo diameter
3. Tuning and testing the sound of the instrument

Visitors can hear the final sound of the Sompoton and are given the option to fast-forward the process if desired. The finished model remains interactive, allowing for full zoom and rotation.

Kadazan-Dusun Zone - Sompoton 

The AR journey begins by scanning an Image Target, revealing a 3D model of the instrument. Visitors interact through gestures, hear authentic sounds, and access information or a full crafting process. Each crafting session includes material selection, animated construction steps, and final inspection, repeated across all three zones for a rich, hands-on exploration of traditional musical instruments.

Proposal Presentation Slides

WarisanXR G2 - Minor Project Proposal Presentation

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  Customer Journey Map  

Our WarisanXR Customer Journey Map outlines the complete user experience across four key phases: from initial awareness to post-event advocacy. Each phase is carefully designed to meet user needs, resolve common pain points, and strengthen emotional engagement with Malaysia’s indigenous cultural heritage through immersive AR.

Customer Journey Map Overview

Stage 1: Awareness (Pre-Launch – 1 Week)

Overview:
In this initial phase, we aim to build public curiosity about WarisanXR by deploying visually striking promotional content. People start noticing the event through transportation posters, social media ads, and teaser microsites, gradually becoming intrigued about the upcoming AR-powered cultural experience.

Summary (Point Form):

• User Activities: Gaining awareness and growing curious about WarisanXR and the AR cultural experience.

• Needs: “I want something new and meaningful, not just another museum poster.”

• Pains: “I don’t understand what this event is about or how to join.”

• Touchpoints:

  • Posters at airports & RapidKL stations

  • Instagram/RedNote teaser videos (5–10s)

  • Microsite with brand story & pre-registration

  • Social media from Museum Negara

  • Early ticket mockups with QR to landing page

• Customer Feeling: 🤔 Curious, intrigued

Stage 2: Consideration (Launch – 2 Weeks)

Overview:
As users encounter interactive teaser booths, they begin exploring what WarisanXR really offers. Through hands-on previews with AR glasses and immersive soundscapes, they start trusting the brand and are motivated to attend the main exhibition.

Summary (Point Form):

• User Activities: Exploring teaser booths, trying AR previews, considering attending.

• Needs: “I need to know how immersive or authentic this is before I go.”

• Pains: “Without a clear demo, I might assume it’s technical or boring and skip it.”

• Touchpoints:

  • Interactive teaser booth (malls/universities)

  • AR Glasses Demo Zone with tutorial overlay

  • Sound Immersion Corner (Beduk, Seruling Buluh, Sompoton)

  • Welcome signage & directional boards

  • Tall banner display at National Museum

• Customer Feeling: 😯 Cautious, hopeful

Stage 3: Immersion Experience (Event Entry & Zone Engagement – 1 Week)

Overview:
This is the peak moment of user engagement. Visitors explore cultural zones filled with 3D models, multilingual storytelling, and spatial design tailored to each tribe. Accessibility features ensure the experience is welcoming and memorable for all users.

Summary:

• User Activities: Attending the event, interacting with AR zones, learning about cultural heritage.

• Needs: “I want a fun, educational experience that’s also authentic and inclusive.”

• Pains: “If it’s confusing or too gimmicky, I’ll lose interest quickly.”

• Touchpoints:

  • AR Glasses Briefing + guided tutorial

  • Cultural Zones:

    • Zone 1: Iban (Beduk 3D + carving animation)

    • Zone 2: Temuan (Seruling Buluh assembly)

    • Zone 3: Kadazan (Sompoton melody switch)

  • Voiceover storytelling (multilingual)

  • Ambient soundscapes + floor guide

  • Accessibility UI: language toggle, voice assist, font size

• Customer Feeling: 😄 Excited, slightly unsure

Stage 4: Sharing / Advocacy (Post-Event – 1 Week)

Overview:
After the event, users continue engaging by sharing their experience online, participating in message walls, or receiving cultural merchandise and discount rewards. This final stage turns them into enthusiastic advocates of WarisanXR.

Summary:

• User Activities: Sharing experience, leaving feedback, engaging with social media prompts.

• Needs: “I want to feel like I was part of something memorable and meaningful.”

• Pains: “If nothing happens after the event, it feels like a missed opportunity.”

• Touchpoints:

  • Message Wall (“What Heritage Means to Me” sticky notes)

  • Heritage merchandise (tote bags, stickers, keychains)

  • Discount coupons (printed/digital for future visits)

  • Selfie Station with hashtag + QR to digital guestbook

  • Exit Feedback (QR code survey)

• Customer Feeling: 😊 Proud, fulfilled

Customer Journey Map - Miro 

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  Final Moodboard & Final Presentation  

Moodboard & Art Direction
We developed a mood board and reference pattern collection for our Nada Pribumi project, exploring the visual language of three indigenous tribes: Iban, Kadazan, and Temuan. Initially, we presented a poster that incorporated traditional patterns, but based on feedback from our lecturer, Mr. Mike, we were encouraged to reflect deeper on the meanings behind the motifs used.

Following his advice, we conducted further research and identified the most representative and meaningful patterns from each tribe. These findings became the foundation of our art direction, which is guided by the following vision:

"This poster celebrates the rich cultural heritage of Malaysia through a dynamic fusion of traditional and modern elements. At its center, traditional indigenous musical instruments—a drum, bamboo flute, and panpipes—are highlighted against an electrifying digital waveform, symbolizing the rhythm and soul of ancestral sound being carried into the future. Surrounding the instruments is a bold circular frame inspired by Dayak motifs, representing unity and identity. The background features intricate batik patterns in deep reds and blacks, evoking a sense of tradition and cultural depth. Vibrant orchids and butterflies weave through the composition, adding a touch of nature, transformation, and harmony. Altogether, the poster delivers a powerful visual narrative that honors indigenous roots while embracing modern expression, aiming to inspire appreciation for cultural preservation and the timeless resonance of traditional music."

This poster serves as the foundation for our visual identity and art direction. All future mockup designs and related visual assets follow the aesthetic and conceptual cues established here.

Moodboard

Team Structure
To manage the workload efficiently, our group of seven members was divided into two main teams:

• Mockup Design Team: Huey Yee, Yi Xun, Chin Ting, and Ming EN (Responsible for Graphic Design and UI/UX across all phases)

• 3D Modelling & Storyboard Team: Rachel, Ruthlene, and Ziyu (Responsible for 3D assets and photo-bashing storyboards)

Mockup Design
Our Mockup Design Team (Huey Yee, Yi Xun, Chin Ting, and Ming En) was responsible for handling all visual and UI/UX design components of the project. We structured our design strategy around the three core phases of the visitor journey: Pre-Launch, Launch, and Sharing & Advocacy. Each phase focuses on how to attract, engage, and retain audience interest before, during, and after their visit to our exhibition, Nada Pribumi.

Pre-Launch Phase
The goal of the Pre-Launch phase is to raise awareness of the exhibition before it begins and create excitement among potential visitors. To achieve this, we designed a series of digital and physical promotional materials, focusing on online platforms and public spaces. These promotional assets are carefully aligned with our art direction, incorporating indigenous patterns and heritage-inspired colors like beige, brown, and red tones to create strong cultural visual identity. This phase is designed to last for one week to allow the public to discover, share, and anticipate the exhibition.

Deliverables:

• Poster Design that showcases the exhibition’s theme and main visuals
• Instagram feed posts and Instagram ads teaser video for promotional reach
• Digital posters for airports, LRT stations, and other transport hubs
• Facebook promotional content targeting local and international audiences
• Landing page layout design for Museum Negara’s official website
• Ticket design for visitor entry

Pre-Launch Mockups Design

Launch Phase
During the Launch phase, we aim to offer a first-hand experience of Nada Pribumi to a broader audience by setting up an interactive promotional booth at strategic public venues such as a university (e.g., Taylor’s University) or a shopping mall. This booth allows visitors to try on the AR glasses, watch teaser content, and understand the experience before visiting the actual exhibition. We also designed supportive wayfinding materials like welcome signage and directional boards to improve navigation and visitor comfort. Large banners will also be placed at the National Museum of Malaysia to capture the attention of on-site visitors and attract walk-ins.

Deliverables:

• Interactive booth concept with AR glasses trial zone
• Brochure and teaser video setup to introduce the experience
• Welcome Signage placed at entrances to greet visitors
• Directional Signboards to lead visitors to the exhibition area smoothly
• Large Banner Design for the National Museum to increase visibility and interest

Launch Mockups Design

Sharing & Advocacy Phase
The Sharing & Advocacy phase focuses on encouraging post-visit engagement and spreading the message of Nada Pribumi through visitor interaction and word-of-mouth. We designed this phase to create memorable experiences through physical takeaways and social media prompts. Visitors can snap photos at the Selfie Station, leave a message on the Message Wall, and bring home custom-designed merchandise like tote bags and keychains. Additionally, we introduced a referral and discount system to promote return visits and encourage guests to share the exhibition with others.

Deliverables:

• Merchandise Design: Tote bags, Keychains as souvenirs
• Social Media Interaction Zone:
• Selfie Station with props and QR codes
• Message Wall for visitors to leave notes and feedback
• Digital Guestbook linked via QR codes
• Referral Reward System:
• 20% discount for second-time visits or for referring friends/family
• Aims to boost word-of-mouth advocacy and repeat visits

Immersion Experience Phase
For this Immersion experience phase, our goal was to create an engaging, culturally respectful and immersive AR exhibition that allows visitors to experience Malaysia’s musical heritage in a multisensory way. This phase has covers the visitor journey from the moment they enter the exhibition zone to the end of their hand-on AR experience. 

Floor Plan

Visitor Flow Map

First, we began by designing the Exhibition Zone floor plan, which includes four main areas: the Intro Zone, Iban Zone, Temuan Zone and Kadazan Zone. Visitors will start at the Intro Zone and are free to explore the three cultural zones in any sequence. This open layout promotes flexible navigation while ensuring that each zone can accommodate up to five people at a time, minimizing crowding and enhancing the experience.

Table Design

We also created a custom-designed table at the center of the exhibition. This table serves both functional and aesthetic purposes, holding key AR triggers while visually reflecting our cultural theme through its shape and materials.

Intro Zone

• Onboarding Visitors with AR Glasses

The immersion begins in the Intro Zone, where staff distribute AR glasses and provide instructions. Inside the headset, an NPC (non-playable character) appears to guide the user through the interface using gesture controls like the pinch motion.

The NPC introduces the exhibition’s three cultural zones, each represented by a musical instrument:

• Beduk for Iban
• Seruling Buluh for Temuan
• Sompoton for Kadazan

Once a user selects a zone (e.g., the Iban zone), the experience shifts into that cultural environment.

• Storyboard 

• Zone Experience 1: Iban Zone

The Iban Zone immerses visitors in a virtual Sarawak village. Here, users interact with an NPC and can choose to participate in a Beduk drum crafting experience. The process includes:

1. Selecting the log for carving
2. Using vertical hand gestures to shape the drum
3. Hollowing the body with tools
4. Choosing a drum skin and applying Iban patterns
5. Playing their finished drum using gesture-based controls

To extend the experience, users can embed their rhythm into a custom keychain, available later in the merchandise zone.

Before leaving the Iban zone, users are invited to craft another instrument — the Sompoton, commonly associated with Kadazan culture — creating a seamless transition to the next section.

Zone Experience 1: Iban Zone

• Zone Experience 2: Kadazan Zone

In the Kadazan Zone, visitors are welcomed into a crafting experience for the Sompoton, a bamboo mouth organ with a gourd wind chamber.

Steps include:

1. Choosing bamboo pieces
2. Cutting and slicing them to size
3. Selecting and shaping a dry gourd
4. Adding a traditional pattern to the instrument
5. Playing music alongside NPC musicians using gesture controls

This experience not only engages visitors with cultural craftsmanship but also lets them take virtual photos of their instrument.

Zone Experience 2: Kadazan Zone

• Zone Experience 3: Temuan Zone

In the Temuan Zone, users participate in the making of the Seruling Buluh, a bamboo flute. Whether the visitor accepts or declines the initial invitation, the NPC gently encourages exploration.

The crafting sequence includes:

1. Interactively gathering bamboo in a forest setting
2. Cutting it to size using gestures
3. Drilling holes to create the flute
4. Decorating it with Temuan patterns
5. Composing and performing a melody alongside NPC musicians

As with the Kadazan zone, visitors can zoom in and take screenshots of their finished instrument.

Zone Experience 3: Temuan Zone

Final Presentation Slides

WarisanXR G2 - Nada Pribumi Final Presentation

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  Project Tracking & Consultation Feedback  

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  Reflection  

Experience
Working on the WarisanXR: Nada Pribumi project has been an incredibly rewarding journey. From the start, we were entrusted with the meaningful task of reviving Malaysia’s indigenous musical heritage through immersive technology. It was a rare and valuable opportunity to work alongside TrueXR, with the guidance of our lecturer Mr. Mike, and to collaborate closely as a team. Visiting Istana Satu at the National Museum of Malaysia gave us a firsthand experience of cultural richness and helped deepen our appreciation of local traditions. This project challenged us to go beyond textbook learning to apply design thinking, storytelling, and digital innovation in a real-world cultural setting. As a group, we experienced both pressure and pride in balancing creative ideas with technical requirements, and I am deeply grateful for my team’s resilience and contribution.

Observations
Through the process, we realized that technology can be a powerful bridge between generations. While traditional musical instruments may seem distant to today’s youth, placing them in an interactive XR context made them relatable, engaging, and memorable. We also observed the importance of user-centered design, especially when addressing diverse audiences, including local families, international tourists, and educators. Our interviews and museum visits revealed how presentation methods, such as multilingual support, accessibility, and interactivity can greatly shape a visitor’s understanding and connection to culture. Furthermore, this experience reinforced the importance of authentic representation, especially when working with indigenous themes. Careful research, consultation, and visual respect were crucial.

Findings
This project taught us that:

• Cultural preservation through design requires empathy, not just creativity.
• Cross-disciplinary teamwork between 3D modeling, UI/UX design, and content research was key to a smooth workflow and strong final deliverables.
• Stakeholder collaboration with industry experts like TrueXR helped push our limits and expand our thinking on interactivity and storytelling in XR.
• Exposure to real spaces like the National Museum taught us how context both physical and historical, shapes the way users interact with content.

In conclusion, we would like to extend our sincere thanks to TrueXR, the National Museum of Malaysia, and Mr. Mike for this unique opportunity. It has not only strengthened our technical and design skills but also deepened our respect for Malaysia’s cultural heritage. This project will remain one of the most meaningful and impactful learning experiences in our academic journey.